Customer Reviews

Mahler: Symphony No. 6 / Strauss: Ein Heldenleben

5 star:		(17)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

This is my favorite version of Mahler Symphony No.6. Some people may think that there is too much of tragedy right from the beginning and the starting tempo is a little draggy compared to most other versions. But I don't feel that way at all. In contrast, I think Barbirolli's expression and tempo is just absolutely right. There is a real sense of tragedy and our MAN in the music is determined in facing the fate. Put it in short: this performance is the most convincing and satisfactory to me.

Mahler is a composer who, intentionally or not, sometimes lapses into a state of melodrama where his objectives may be unclear to the listener. This is seldom truer than in Mahler's Sixth, where the "tragedy" often seems more conceived than really felt, as opposed to the indisputable emotional veracity of a work like Bruckner's Ninth or, less disputably, Mahler's own Ninth. Bernstein's temperament was particularly well suited to Mahler's histrionic nature (incidentally, Bernstein was not a great Bruckner conductor), but Barbirolli comes closer than anyone in making the tragedy, even horror, of this symphony sound real. Just a few seconds of the very martial opening movement will convince you that this is like no other performance. The sound (from 1967) is very good. I can't comment on the performance of "Ein Heldenleben" because I have the original CD issue coupled with Strauss' "Metamorphoses".

This recording has had an odd history. When first released on LP in Great Britain, the companion piece was Sir John's recording of Strauss' "Metamorphosen".

When it was released in the U.S., although the cover art still proclaimed "Metamorphosen" as the companion piece, it was no where to be found. The 6th stood alone, covering all four LP sides, albeit with a side break in the final movement.

When it was initally released on CD, "Metamorphosen" reappeared.

Now, "Metamorphosen" seems to have, well, metamorphed into "Ein Heldenleben". Such are the exigencies of the record companies these days.

I can't recall I've ever heard Sir John's "Ein Heldenleben", so I will not comment on it.

However, as for this recording of the Mahler Sixth, first let me say that I was fortunate enough to see and hear Sir John conduct Mahler live, in the house. Toward the end of his life he conducted a series of concerts with the Los Angeles Philharmonic that included the Mahler Ninth. It was one of the greatest live performances I have ever been fortunate enough to attend, ranking up there with Rubenstein's Beethoven 3rd Piano Concerto, Nilsson's Elektra, Varnay's Senta, Sills' Roberto Devereux, and Klemperer's Brahms German Requiem.

I purchased Sir John's recording of the Ninth and, I must admit, was a bit disappointed. It just didn't seem quite the same. I came to the conclusion it just simply is never as good on record as it is in the house.

That conclusion was blown all to hell when I first heard this remarkable recording of the Mahler Sixth.

Superlatives are superflous here. Adjectives are hopeless.

I have simply never heard another performance of this work that is so jaw droppingly overwhelming.

If this recording doesn't have a profound effect on you, well, you must be dead!!!

To be honest, I bought this CD specifically for the Mahler 6 recording and haven't really paid much attention to Strauss's work. With that said, do yourself a favor and buy this CD for the sake of hearing JB's incomparable Mahler's sixth. He takes it at a leisurely pace but it works well for this piece as it emphasizes the drama and emotion behind the work. The finale alone makes this CD worth buying. Barbirolli does grunt a bit, but after a few listens, the performance will allow the listener to forget about it.

I can add nothing to the reviews praising the musical and technical excellence of this release. Let me add that the programming of two contrasting post romantic views of the the hero in an un-heroic age is inspired. Strauss and Mahler were colleagues, if not the closest of friends, and they did conduct each other's music. Strauss' music was generally adored when not despised; Mahler's music was despised generally, and adored by a select few.

Strauss sees his hero from the outside in, and he is clearly looking in the mirror! He likes what he sees, this turn of the century man, urbane, successful, married (also hen-pecked), and beset by critics, who are Phillistines to be defeated by the end of the show. Strauss was on the verge of becomming a man of the theater, an opera composer to rival all but his beloved Mozart.

Mahler's hero is seen from within -- no need for mirrors, the paintings of Munch and Klimt, the writings of Kafka, the revelations of Freud reflect the hero's image far better than any glass. The natural world is this hero's saving grace; the love of nature, the clang of cowbells, the distant horns gleaming in the andante's great song, and Alma. Her theme is bittersweet, bright but full of longing for a happiness never realized. The blows that hammer this hero, more fundamental than the sniping of critics, will prove fatal.

There is more to this than the contrast of extravert and introvert, for each composer -- in strictly musical terms -- bears certain characterstics of the other. All of this is brought out in these two, well-paired recordings. Get them while you can.

Regarding this recording, who cares that it was recorded in the 60's? The sound is phenomenal. But moving past sound, one will find a hypnotic symphony that will (if you let it) transport you to a different frame of mind and thinking. Someone wrote that this recording is "expansive". That is no overstatement, and perhaps borders on being an understatement. However, there is no diminishment in the sheer beauty. All of it's there: great recording, great playing, great conducting, great price.

This is my favorite of all my Mahler recordings, and possibly my favorite orchestral recording of all time. Yes, there are problems with the interpretation. Yes, not all the details and colors are realized as fully as in other recordings. But this is beside the point. Simply put, in my entire life I have never heard an orchestra get this heavy, or play with this level of intensity. I always thought Mahler was the Heavy Metal of his time, and this recording leaves no doubt about why that is. In every bar, you can hear string players crushing the bows into their strings, and brass players blasting their hearts out. It's a wild, brash, and decidedly 'immature' performace on behalf of Mr. Barbirolli and the Philharmonia, and thank God for that, because it's one of most exciting things I've ever heard in my life.

There are few recordings that evoke such well-earned ardor from listeners as Sir John's Mahler 6. (See all the following rave's!!!) The good news is that the coupling on this 2-CD set, Richard Strauss's Ein Heldenleben (and one of Sir John's last recordings), is a typically lovely, expansive, emotionally- charged rendition and not a light-weight filler. Don't hold back - this recording is already becoming difficult to find in stores and is no doubt headed for EMI's chopping block.

Certainly when Mahler wrote that his Sixth Symphony "proposes problems whose solution only will be able to intended only for a generation which have absorbed and resembled truly my first five Symphonies" demonstrated to see with clarity inside himself to be conscious about the undertaken path with untamed coherence and , at the same time to take notion of the misunderstandings about this new work.

Despite the fact the conventionalism of the first Movement , you can advert the demoniac timbers , liberating the fury and similarly to let opened the possibility of fine evocations -

The Andante is passed over by mysterious trembling announcing somehow the mortal paleness of the expressionist dryness .

The Scherzo is surrounded by furtive ironies .
And the finale allows to glimpse the most gloomy paintings of Edward Munch with the immense pessimism and murkiness .

In no other symphony did Mahler penetrate into the melodic part without any discrimination as here, in this raving and frenetic storm of memories, livings and fear about the cruelty of the destiny . It turns almost impossible to find similar visions in any other Art expression . This interior blended sensation of anxiety , vertigo and anguish .

That is why it has been called the Tragic Symphony and besides it proves why the well know film maker Ken Russell underlined the dark accords with special emphasis in his film.

To my mind , there have been three sublime approach whose landmark resided precisely in reveal this dark side of the man : Jasha Horenstein , Hermann Scherchen and John Barbirolli .

The best recording of this work , by far!

Two historic recordings from one of the greatest English conductors. Sir John Barbirolli is marvellous in both works. Made in 1960's, sound quality is very good, and performances are in high cult status.

Richard Strauss and his Ein Heldenleben recorded with London Symphony Orchestra. This gorgeous symphonic poem, as you know, is an autobiographical work of composer, so, The Hero (of course) is himself and his enemies are music critics (of course!).
This work was scored for large orchestra: quadruple woodwinds, 8 horns, 5 trumpets (2 E-flat, 3 B-flat), 3 trombones, 2 tubas, timpani, cymbals, snare drum, tenor drum, bass drum, 2 harps, strings. In other words: approx. 110 musicians...

The performance is excellent, the violin solo (imagine that Composer's Wife) is amazing and the solo of E-flat Trumpet (in 4th movement) is very good. The War Scene is terrific, amazing. And, I think, the most impressive movement of this work is the last movement - The Retreat of Hero and his Death. In last seconds, there is a noble finale -crescendo to reach to Fortissimo and then a diminuendo to reach to Pianissimo- of all winds, which tells that, the last breath and the death with peace of mind.

Mahler's Sixth Symphony called "Tragic" recorded with New Philharmonia Orchestra. This performance is very majestic, not so flamboyant as Bernstein, but this reading is powerful and impressive. Real Mahlerians should have this recording, I think. Even so this symphony sounds like a sountrack of a horror film! As you know, Sixth Symphony is Mahler's most pessimist work and however written in his happiest years of his life (1904). Because, Mahler married to Alma Schindler, and they had a new girl, named Maria. Even so, this is a propethic work (!). Mahler, used hammer blows (in last movement) explains that his three Fate strokes which will to be in next years of his life. And these Fate strokes are: his daughter's sudden death in 1907 (at age 4!), his departure from Vienna Opera Court and his heart disease!... And then, the composer used cowbells in offstage, too. This explains the Alpine landscapes that impressed Mahler, and extreme loneliness and a mystic atmosphere. Even so, this is only symphony which finishes with dark atmosphere, not with a glory scene. And the last sudden exploding chord of music (in last seconds) usually scares me. The music finishes like a iron curtain falls in scene...

The orchestra is huge (as usual in Mahler): 5 flutists, 5 oboists, 5 clarinettists, 5 basoonsists, 8 horns, 6 trumpets, 4 trombones and a tuba, huge percussion includes bells, gong, hammer, 2 set timpani, 2 harps, celesta and about 50 - 60 strings.

The 1st movement begins like a Nazi March! This "risoluto" and tragic opening continues with a apassionata "Alma" theme, so this movement has a full of drammatic atmosphere. Especially the moments between durations 15"00 - 17"00, the Alma theme comes again and this passage is may be the most romantic moments of whole symphony, you can weep when listen it... The 2nd movement is played as Andante, as Mahler himself decided later to choice as 2nd movement, not as a Scherzo. It is peaceful music and portrays a illusionary happiness. The 3rd movement is Scherzo, and it is I think not a Scherzo, but a "Dance of Death", with devil's laughters, but in Trio section, describes the games of children, but in finish section there is a drammatic explosion and this game melody sounds now when goes away and dying in a whimper... The amazing Finale is the prophetic movement. It begins as a nightmare - a silent terror, and then continues with a heroic-tragic march. This march portraits the hero (Mahler), but then the three hammer blows (by the way, in that rec. the Hammer Blows are really earth-shattering!), and then defeat and abandons himself to his doom...

This 2-CD set is marvellous. They are definitve readings and a must have for all Mahlerians and Straussians, and other music lovers.

Highly recommended.